LoveYatri has a done-to-death plot, which wouldn’t be half as bad as it is had it not been saddled with every cliche in the book and executed with a complete lack of planning or direction. That’s not to say the film isn’t entertaining, though not due to any merit of its own, but rather because it falls in the “so bad that it’s good” category.

It’s a tough task to summarize the plot in a film that doesn’t have one, but we’ll try our best. Sushrut (Aayush Sharma) aka Susu (don’t even ask) is a ace Garba exponent who falls head-over-heels in love with NRI Michelle (Warina Hussain) when she visit his city of Baroda during Navratri. They hold hands, sing songs, never talk about their feeling though (we aren’t making all this up), and then have a huge tiff because of the unscrupulous schemes of Michelle’s father (Ronit Roy) – yes, even the age-old nasty rich dad has been thrown in for good measure – after which Michelle returns to London. Ten months later Susu follows her to win her back.

LoveYatri is riddled with incoherent scenes, cringeworthy dialogues, and several moments that are anything but romantic in a romantic film, all on the back of a messy screenplay by Niren Bhatt and insipid direction from Abhiraj Minawala. Heck, if this was any messier, it could have easily been one of Rahul Gandhi’s political speeches. But, like we said earlier, the atrocity on display actually gets entertaining after some because of veterans like Ronit Roy and Ram Kapoor who seem like they were more than aware of the trainwreck they agreed to be a part of, and hence, decided to have a good time mouthing their painful lines and playing buffons on screen. Kapoor explaining Manchester United football fans at a London pub how Indians learn how to love from Bollywood films or Roy doing the Chogada jig are prime examples of this.

The songs are a saving grace of LoveYatri, but in the time of YouTube, it’s nigh impossible for a film to work anymore solely because of its music, however good it may be. Still, watching ChogadaTara and Rangtaari on screen provide welcome distractions. The other minor respite come from Aayush Sharma, who actually displays some promise in his debut. But, Warina is completely plastic, Ronit Roy is wasted, and Ram Kapoor is reduced to a caricature.

To sum it up, LoveYatri is the kind of film that teaches you how to clear visa interviews doing Garba, wearing red-hued clothing, and keeping lucky nuts in your pockets. The impact of this is so profound that the whole of London ends up doing Garba by the time the climax rolls. What more do you need to laugh your ass off at a film that’s “so bad that it’s good”?